James Henderson | Script Revolution
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James Henderson

Is it just me, but doesn't it seem that the screenwriting pedagogues are instructing rules that are simply too complex to follow? This should happen before act one and that should happen by act two and so forth and so on? Your protagonists must have a character arc? What does that even mean? And I have yet to hear anyone say, "The character arc in that film floored me and made me want to watch it again and again." Think about all the interesting films you have watched where the protagonist had no discernible goal, no antagonist, no conflict, and, in the end, experienced no so-called character arc. Yet the film was interesting. Why? Because the writer either made the character(s) interesting or his or her mundane activities interesting.  IMO, the main thing a writer should worry about: Is my story interesting and engaging? That's it. Nothing else. 


Scripts By James

African American noir: a southern detective matches wit and trades blows with a ravishing femme fatale who seduces and marries her ne-er-do-well ex-husband and threatens custody of her son.
Feature Crime For sale 121pp
2 readers love this script
Baby Huey
A young married African American man succumbs to crack addiction.
Feature Drama, Family Seeking finance 129pp